题 目：Promise Land / 应许之地

作 者：Gregory Eddi Jones

出 版：SPBH Editions ，2021

装 帧：精装，200页

尺 寸：18.5*23.5 cm

美国艺术家格雷戈里·艾迪·琼斯的《应许之地》是一部视觉诗意史诗，它打破了摄影的传统，直面艺术家所认为的普通文化图像中的精神贫瘠。这本书以T.S.艾略特的现代主义杰作《荒原》（1922年）为起点，创作了一系列图像，接续了近100年前这首诗所留下的空白。

琼斯以常见的库存照片和广告照片为素材，运用数字合成和实体油墨处理策略，打造出一种摆脱摄影与传统真实性和信念束缚的新型图像。通过这种方式，他剖开了空洞视觉承诺的核心，注入了无限联想游戏的可能性。琼斯借鉴了艾略特的文学典故策略和碎片化的、拼贴画般的叙事手法，从民俗图片、童话插图到超现实主义、神话、常见广告套路和摄影历史传统中汲取了广泛的灵感。

最终形成的这一系列图像构成了一部视觉交响曲，由近200幅作品组成，与当下这个分裂的、“后真相”时代相和谐。《应许之地》不仅重温了许多人认为的20世纪最伟大的诗歌，同时重新定义了摄影可以是什么，以及它能做什么。

American artist Gregory Eddi Jones’ Promise Land is a visual poetic epic that usurps photographic convention to confront what the artist considers the spiritual poverty of common cultural pictures. The book uses T.S. Eliot’s Modernist masterpiece, The Waste Land (1922), as its point of departure, to create a sequence of images that picks up where the poem left off nearly 100 years ago.

Using common stock and advertising photographs as his source material, Jones employs strategies of digital composite and physical ink manipulation to craft a new kind of picture that is untethered from the traditional burdens of photography’s relationships to truth and belief. In doing so, he cuts into the hollow cores of empty visual promises and injects a potential for multitudes of associative games. Borrowing from Eliot’s strategies of literary allusion and fragmented, collage-like narrative, Jones pulls a range of inspirations, from folk pictures and fairy-tale illustrations to surrealism, mythology, common advertising tropes, and photo-historical traditions.

The resulting sequence forms a visual symphony, composed of nearly 200 images, in harmony with a fracturing, “post-truth” contemporary world. Promise Land revisits what many consider to be the greatest poem of the 20th century, while simultaneously reimagining what photography can be and do.